22 posts tagged "Bottega Veneta"
Long after the hustle and bustle of Milan fashion week has come to a close, you’ll be able to re-create the Italian experience (minus the jet lag) in the comfort of your bathroom. Available next month, Bottega Veneta is launching an ultraluxe bath ritual—containing a body scrub, body oil, body powder, and hair mist—all laced with a slightly masculine leather accord and notes of plum, oak moss, patchouli, and jasmine found in the distinctive and original eau. The exfoliator contains microparticles of apricot kernels that slough off rough patches without being overly abrasive, while the moisturizing oil dries down to a satin finish and leaves behind a subtle gleam without feeling greasy. For a softer touch, the shimmery body powder, applied with a puff, adds a delicate veil of gold sparkle, and the spritz for strands (available only in select Bottega Veneta boutiques), misted on the underlayers near the nape of the neck, helps you hang on to this rich scent and release it with a casual flip of your hair. While the storied house isn’t showing until Saturday, I’m glad to have gotten in on the far less frenzied designer action a few days early.
Tomas Maier is the kind of designer who is incredibly particular about all facets of his collections, which is to say every inch of a Bottega Veneta show is carefully considered—hair and makeup included. “He really wanted a hairstyle,” Guido Palau said of the soft, seventies-meets-forties, “Jodie Foster in Taxi Driver” curls he obliged Maier with for Fall.
Cleaning hair with Redken Curvaceous Shampoo and Conditioner so it was light and airy, Palau rough-dried strands with its Guts 10 Volumizing Spray Foam mousse to add texture, before creating a deep side part and tightly coiling one-inch sections, which had been prepped with Redken’s Iron Shape 11 Finishing Thermal Spray, around a thirteen-millimeter iron. Then, just before the show started, Palau loosely spread out the curls with a boar-bristle brush, slipping a single bobby pin above the right ear.
Maier was equally specific about models’ “matte, matte, ultra lip,” as makeup artist Pat McGrath referred to the burnt-orange-brown pigment that she painted onto pouts. “We did look at fabrics [from the collection] for that,” she elaborated of the custom color. Dusting a brown-black eye shadow on the tops of lids and underneath the lower lash lines—”Just to give a little sexiness”—McGrath finished the look with a light-handed application of brown mascara.
Following two seasons of platinum blonde loyalty and a Fall outing that made shades of deep brunette the runway hair hue du jour, the Spring 2013 shows are at a little bit of a color impasse. Castings have been relatively equal opportunity, with a lot of designers—Alexander Wang and Roberto Cavalli to name a few—requesting deliberately dark and light-haired models for the corresponding black and white sections of their presentations; Marc Jacobs, who ushered in the graphic trend with his Edie Sedgwick sixties salute, went as far as to have Laurie Foley take models black or white-gold, accordingly. Which is why it’s been hard to miss Irina Kravchenko. The Ukrainian newcomer who, despite opening Wang’s show, had a slow start in New York is killing it in Europe—not least because she remains one of the only redheads in this season’s catwalking crew. After staring at her from afar at Prada, Bottega Veneta, Jil Sander, Marni, and Roberto Cavalli this week, we finally managed to get the scoop on those gorgeous ginger-auburn locks—despite some initial trouble understanding one another (beauty is an international language, don’t you know). “It’s blonde naturally,” Kravchenko revealed after we maniacally pointed and gestured to her hair (then ours). The word “salon” helped solicit the revelation that she has no need for one, as she does her dyeing herself with—get this—”chenna.” Henna? “Chenna—from grass,” Kravchenko reiterated. That’s right; those rich, show-stopping strands are the result of an at-home application of the plant that has long been used to dye fabrics, skin, nails—and hair. The style set’s superstar colorists are no doubt chomping at the bit to get their hands on this one.
We’ve been talking about the rise of neo-gothic beauty since the Fall shows, and the new September glossies are officially galvanizing the trend. In the latest issue of Vogue Japan, Kinga Rajzak appears in an editorial called “The Scarlet Focus” that highlights deep, black cherry-painted lips à la Gucci or Bottega Veneta and sepia-toned lids reminiscent of those at Burberry Prorsum and Givenchy. Petros Petrohilos was the makeup artist behind raven-haired Rajzak’s transformation for the spread. While starlets including Kate Bosworth and Lana Del Rey have already taken the dark look from the runways to the red carpets, we still find it fresh and wearable. We’ll have plenty more to say on this subject when our Fall Beauty Guide launches at the end of August.
Matte lips have dominated the Fall runways this season, and more often than not they have been painted classic shades of red. Backstage at Victoria Beckham and Marc By Marc Jacobs in New York, lips were a perfect crimson hue, while a precise slick of scarlet ruled at PPQ in London and Rick Owens this week in Paris. But another pout color is starting to stake its claim on the season, and it’s gaining ground with each passing day: behold, the dark mulberry mouth. We got the our first glimpse of it in Milan, where Pat McGrath coined the “dark romance” effect at Gucci before creating “shading and contrast” at Bottega Veneta with paled-out skin and another burnt-cherry lip that she lined with a black eye liner and then filled in with a blackened-red pigment. Lucia Pieroni picked up on the idea at Rochas, where she crafted a dark wine-stained, “stamped-on” lip to complement the rich color palette of Marco Zanini’s collection. Then today at Viktor & Rolf, McGrath captured the enchanted show’s “witchy elegance” with a burgundy pout that she described as “gothic glamour.” This last incarnation had the addition of a high-gloss shine, which the makeup artist applied just before models hit the run way to avoid any, er, sticky situations.
The color is striking on a host of different complexions, but the real secret to pulling it off lays with a good lip liner. “[They're] brilliant!” Pieroni effused at Rochas of the colored pencils that can retain even the wiliest of lipstick bullets. Pro tip: For a true matte finish, apply your liner around the perimeter of the mouth and in the center before adding your lipstick. Blot with a tissue, dab with finger-patting of translucent powder, then apply the liner to the surface of the mouth again to thoroughly remove all traces of shine.